All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The story of a love that became the most fearful thing that ever happened to a woman!
A police detective falls in love with the woman whose murder he's investigating.
The perfect noir comedy of desire, an erotic refraction played in dapper proximity to Hitchcock (what’s taken from Rebecca is passed on to Vertigo). The famous opening introduces aristocratic Manhattan as a perfumed glass cabinet, a whip pan followed without pause by a dolly-in reveals Waldo Lydecker (Clifton Webb) in his bathroom soaking like Marat, venomous typewriter suspended above a marble bathtub. Queenly aesthete and viperish columnist ("sentiment comes easy at 50 cents a word"), he finds a Galatea in Laura (Gene Tierney) and helps her ascend from Madison Ave. go-getter to shimmering socialite. A disfigured corpse brings out the blue-collar detective (Dana Andrews) and the shady bourgeoisie: a sponging playboy (Vincent Price), the "lean, strong body" easily toppled, and…
Noir-November Challenge! Movie #22
Polished Film Noir that hits all the right notes despite the absurd plot twists! A visual banquet for the eyes! The actor that made this film simply delicious was surprisingly enough Clifton Webb!
A mystery film noir directed by Otto Preminger firing on all cylinders. The nights are pitch black, the weather is restless and the brightly lit interiors are filled with cigarette smoke, antique furniture and walking old-fashioned costumes. The atmosphere is stylishly conveyed and acutely perceived. The black and white cinematography is beautifully stark, the camera is moving smoothly, the dissolves are seamless. The sweeping, grandiose and dramatic score gives such weight to unfolding scenes. The dialogue is smart and very well written, excellently punctuated by the cast, part of which are Dana Andrews as the experienced and determined detective and Gene Tierney as the beautiful, attractive and fascinating titular character.
The mystery surrounding the murder is expertly constructed, allowing for…
Those crazy dames are always causing trouble for everyone.
On a serious note, this is one of the best noirs I've seen. I'm at a loss as to why this film isn't mentioned more often in discussions about the best noirs if all time.
The acting, direction, pacing, editing, and dialog are all top notch. Coincidentally, this is the first time I've seen Vincent Price in a role in which he wasn't gobbling up the scenery.
An incredible film about male projection. LAURA initially plays into the cliché that tends to type all movies that start with the focal character dead, wherein the viewer gets to feel like that person is an active, driving character for the force they continue to exert on the living. But in this case, when Laura is revealed to be alive, her actual presence throws everything that came before into disarray, revealing that image driving the story to be nothing more than the idealized visions of different men in love with her. I've been wanting to watch this movie for years (it spent a solid year near and at the top of my Netflix queue but the disc was always rented out), but never knew anything about it. Imagine my surprise to get not only a great noir an incredibly ahead-of-its-time reflection on noir's pedestal problem.
I don't use a pen. I write with a goose quill dipped in venom.
There's so many films that ended up truly great out of sheer luck, accidents and circumstance. Laura is no different. Otto Preminger struggled in every aspect to have this film made the way he wanted, because there was always someone or something working against him. After fighting to get the cast he wanted however, he was denied the right to direct the film and relegated to producing it.
Rouben Mamoulian was given the directing gig, but when the first dailies came in the studio was less then impressed. Much to Preminger's delight he was given the go ahead to fire Mamoulian and take over…
This review reportedly contains spoilers. I can handle the truth.
Laura Hunt (Tierney), a young entrepreneur in advertisement business, is shot dead in her apartment one night, the case is investigated by a hard-boiled detective Mark McPherson (Andrews). For the season that the opening credits only introduce 5 names, save Tierney and Andrews, the other three naturally becomes prime suspects, they are Laura’s long-time patron Waldo Lydecker (Webb), her scalawag fiancé Shelby Carpenter (Price), whom she supposedly would marry in one week, and her auntie Ann Treadwell (Anderson).
While the film is running for a mere 88 minutes, this whodunit doesn’t waste any time to probe into each suspect’s possible motive, all of them has a disreputable side, while Laura, through Waldo’s wistful recollection, is the one who is impeccable,…
Vincent Price is everything in this movie. Armie Hammer, THIS should be your career path.
Though I'm very familiar with the detective noir genre, this was outside my comfort zone since I normally only watch very old films if it features actors I dig. I wasn't familiar with anyone in this production (I didn't recognize that Vincent Price was in it until after)...and that probably helped for this type of film. I really enjoyed the first half or so about how Laura ended up in her current state. The character motivations here are classic, but ever so intriguing. You'll want to watch this one more than once.
Perhaps the story isn’t as good as others stories and might decrease my initial estimation on a rewatch. Laura is a movie that you could say is the typical mystery movie with a twist, the type that once you know the answers it loses its interest, but has more to it thanks to the acting and the visual aspect that never bores.
The style is impressive, it is not so much of a ‘nice looking’ one, rather a ‘well used’ one. It has put a lot of attention to create details and used them (on others hands, the title of this movie well could’ve been the name of something from the set). Am I being objective? No… But when the…
While I don't think Laura is some sort of masterpiece it is an example of just pure mystery whodunnit fun that glides at such a pace you never question the slightly non-sensical route it takes.
A spectacular whodunnit film noir which never broadcasts the sensational twist that opens it's third act. What follows is twist after twist, right up until the final violent moments of this Otto Preminger film. A great cast but, Clifton Webb is the standout as cynical columnist Waldo Lydecker. More than 70 years after it's release this is still considered a classic, and is much loved. You'll love it to!
"You'd better watch out, McPherson, or you'll finish up in a psychiatric ward. I doubt they've ever had a patient who fell in love with a corpse."
A detective is investigating the murder of a young woman. While interviewing those closest to her and trying to figure out which one of them did it, he ends up falling in love with her.
The premise is a little silly but it's executed really well. It's a classic whodunit and I love a good mystery.
It was strange to see Vincent Price so young and clean shaven with a softer voice. There's some great twists in the second half of the film. The one liners are terrific as well. I can't really complain about anything without getting into spoilers but I would definitely recommend this film.
There is no better metaphor for obsession than the song that insidiously plays over and over in your head whenever you hear her name. And no more articulate representation of the objectification of woman that is the root of misogyny than this story of obsessive love
This is probably one of my favorite movies now. Everything was perfect! After every minute that passed it got more and more tense. By the end I could hardly stand it. The acting was phenomenal. Vincent Price surprised me. Gene Tierney was heartbreaking. I loved Laura's character development towards the end. This was a perfect noir.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!